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#BlackoutTuesday

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President Ambar’s words to our community yesterday speak poignantly about the death of George Floyd and the state of our country.

While reading her letter, I thought about the power of music to help us express our anguish and despair and respond to the horrific events tearing at our nation.

I have reached out to President Ambar to discuss the Conservatory’s contributions to the Presidential Initiative she announced.  I firmly believe there is a role for the artist in this desperate hour.  In fact, it is precisely in the most desperate hours that art and artists are needed the most.

I look forward to dialogue with our students, staff, and faculty in the coming months about the ways the Conservatory can support individuals in marginalized communities, address racial injustice and structural inequalities, engage with our world, and help effect positive change.

William Quillen, Dean Oberlin Conservatory of Music

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Yolanda Kondonassis helps Oberlin Stage Left with our launch program with a conversation and pre-recorded video performance of Ginastera Harp Concerto. Tomorrow 4/14 at 7:30 pm. #OberlinStageLeft #OberlinVirtualVisit #harpist #Ginastera #OberlinMusic @yolanda_harp https://www.instagram.com/p/B-7emp2gih6/?igshid=1u83ht6c4e50k

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Student Spotlight: Jason Goldberg ‘16

Original article posted: MAY 1, 2015 | BY DANIEL MCGREW

Updated: December 4, 2019

Upon his graduation from Oberlin in 2016, baritone Jason Goldberg will have completed two majors: one in "Vocal Performance" as well as an individual major in "Opera Directing." To learn more about the process of developing and pursuing an independent major in the Conservatory, we asked Jason some questions about singing AND directing at Oberlin.

Jason Goldberg. Photo by Tanya Rosen-Jones.

Jason, tell us, what brought you to Oberlin?

I first heard about the Conservatory from Salvatore Champagne (Director of Vocal Studies) at the Classical Singer High School competition and chose to go to Oberlin because it has an amazing voice program that promotes undergraduate singers performing in operas. I then found a teacher that I loved to work with, Lorraine Manz. During my very first lesson with her I knew she could help me become the performer I wanted to be. I also chose Oberlin because it is one of the few places where a conservatory and a liberal arts college coexist on the same campus, which meant I would have the flexibility and choice to take whichever classes suited me. It was also clear that as I grew as a person, Oberlin would be able to accommodate that growth; Oberlin wouldn't constrain me.

How did you get interested in directing?

I have always loved all aspects of theater. When I was a kid, I would go and see operas and Broadway shows and would be fascinated by lighting effects, how shows were staged, and many other technical things. I also performed individual roles at the Metropolitan Opera as a boy soprano, working with Julie Taymor and James Levine among others, and discovered that there was so much more to opera and theater than just performing. I knew I loved to sing, but I also loved and was intrigued by how everything worked in a production. When I was offered the directing major, it was a chance to explore all the aspects of theater that I had not had an opportunity to work with before.

Tell us about how the idea of an independent major came about? What does the process of declaring an independent major entail?

Sure. I went to meet Jonathon Field (Director of Opera Theater Productions) with the desire to take his directing class and direct some scenes. After we spoke for a while, he suggested that I might be interested in pursuing an independent major to learn what it really means to be an Opera Director. I jumped at the chance. We then came up with a proposed curriculum for the major, which I wrote up. This proposal along with my CV was submitted to Dean Gray (Assistant Dean for Student Academic Affairs) and afterwards was sent to the Individual Major Committee and was subsequently approved.

Have you found a lot of support from your instructors within the voice program? Your teacher? Directors? Etc.?

Yes, yes, and yes. I have received incredible support from the Voice faculty, Oberlin administration, the Opera Theater department, and the rest of the Conservatory. This major would not have been possible without their support, and they have guided me every step of the way.

Would you describe the ways in which your studies of and experience directing have informed your own performing? Conversely, how does being a singer inform the way you direct?

Well they are both related to each other. By studying directing you learn a great deal about all of the individual elements that make up a production. This knowledge and increased awareness of how a show is put together has enhanced my natural instincts of what to do and how to act while onstage. As a performer, knowing how to self-direct is essential. For example, sometimes there won't be time to stage an aria and you'll have to make it up yourself.

In addition, being a singer gives me some insight and vocabulary which is very useful in directing operas. When issues arise, I am more likely to not only see them from a big picture point of view as the director, but I also have a performer's detailed perspective, which helps in figuring out what potential solutions might work.

Tell us about some of the projects you've been involved with related to your double major? Anything special planned for next year?

For my first project, I directed The Telephone by Menotti for the Winter Term Operas in January 2015. Sally Stunkel (Clinical Associate Professor of Opera) directed the other half of the program Strawberry Fields. Currently, I am directing a staged song cycle by Jake Heggie called Facing Forward/Looking Back. Margaret Langhorne is directing the other half of the program, which is a one act opera by Stephen Oliver called A Man of Feeling. That show goes up in The Cat in the Cream theater on May 5th at 8pm.

Next year I am planning to direct Purcell's Dido and Aeneas in conjunction with the Opera Theater and Historical Performance departments of the Conservatory. It has been wonderful collaborating with Webb Wiggins (Associate Professor of Harpsichord) and figuring out how all aspects of this process work -- casting, costuming, venue selection, and budgeting, among other things. I am still putting together the details, so fingers crossed! What is your vision for the future? Do you want to perform and direct? What's 10 years down the road for you?

That is a difficult question. I absolutely want to be a professional opera singer but I also love to direct. They fit together so nicely and satisfy me as a person. Ideally ten years down the line, I would love to be doing both! But before then I plan on going to graduate school for vocal performance. Also I am sure I would enjoy working overseas having studied Italian in the Oberlin in Italy program and German in Middlebury College's German for Singers language immersion program. In all honesty though, I don't know what's going to happen after Oberlin. It's all exciting and terrifying at the same time, and I wouldn't have it any other way!

UPDATE:  Goldberg was successful in producing and directing Purcell’s Dido and Aeneas in 2016. Read more about that production in the ClevelandClassical.com preview. Since graduating from Oberlin, Goldberg has served as a member of the Chautauqua Opera’s production team and directed the Dell’Arte Opera Ensemble summer festival production of of Rimsky-Korsakov’s Mozart and Salieri for which he earned a nice review—"Jason Goldberg directed the action with sensitivity and close attention to the emotional arc." (berkshirefinearts.com) 

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What’s it like to birth an opera?

While much of Oberlin has been adjusting to new classes and new friends, nine conservatory singers have been focusing on something else entirely—new opera.

     Oberlin voice majors spent this past week rehearsing and performing in the workshop of The Wild Beast of the Bungalow, a new opera by composer Rachel J. Peters and librettist Royce Vavrek. The darkly comedic opera follows a girl grappling with her parents’ failing marriage amid a menagerie of unusual creatures, including a mermaid, taxidermied prairie dogs, and sentient chickenpox. 

Matteo Adams, Evan Lindberg, and Evan Tiapula sing as the girl's chickenpox. (credit Jack Lichtenstein)

     Beast is the first work of the Oberlin Opera Commissioning Project, made possible by Elizabeth and Justus Schlichting ‘71. The project guarantees two world premieres at Oberlin with the composer and librettist in residence, preceded by a workshop of each opera. Oberlin will present the world premiere of The Wild Beast of the Bungalow this winter term.   

     What exactly is an opera workshop? An opera workshop is a period of intense rehearsal that allows the composer/librettist duo to experience their work performed live. During the workshop, the pair learns what works musically and dramatically and how an audience reacts. The singers work with new music, learn about the creators’ intent, and provide feedback which influences the opera’s creation. The performers, production team, and creators all convene to refine the opera.  

     The Beast cast, chosen through audition last spring, prepared our parts over the summer, spent the first week of classes in coachings on the music with a vocal coach and pianist, and then workshopped the material the entire second week of school. Our schedule that week included individual coachings with the conductor, discussion about the work, yoga classes, and lots of rehearsal. The week culminated in a complete recording of the opera and a performance of excerpts.

     Working with living creators highlights the fluidity of music. Beast has been more than 11 years in the making, but the work transformed with every rehearsal. Notes were changed, lines added, and character arcs sharpened. The night before we recorded, Vavrek wrote new lyrics to a lullaby, and we sang them the next morning. 

The Beast cast in rehearsal with conductor Joseph Hodge. (credit Jack Lichtenstein)

     Tenor Mac Atkinson ’21 (who performed the role of Miles in last winter term’s production of Missy Mazzoli’s Proving Up) sang the role of Grover in the Beast workshop. Atkinson described his realization of new music’s malleability, “It’s like glass shattering”. [The composer] can just sit with a hardcopy of the score and decide, ‘Yeah, cross that out and write this instead.’ That was an incredible moment.”

     While the music changes quickly in rehearsal, so do the singers. As the workshop progressed, the cast’s performance grew more complex. Evan Lindberg ‘20, who sang two roles—both the Real and Prairie Dog Dad—observed that “the more specific work we did, the more I noticed all these insightful details that were exciting to perform.” 

The creative team meets during break. (credit Jack Lichtenstein)

     Collaborative work at a minute level can be deeply rewarding; the relationship between creator and performer creates a conduit for instant feedback. Atkinson agrees: “It’s empowering, because when you get it right, the composer is like, ‘That’s exactly what I pictured.’ From the mouth of the composer, you’re doing great.”  

     That rapid collaborative work demands dramatic investment from the get-go. Mezzo Julia Alexander ‘22, who sang the Grandparents, cites director Christopher Mirto’s opera theater courses as crucial to her preparation. “We’re lucky at Oberlin to have a strong focus on acting—especially with newer operas. The comedy of this piece leans heavily on theater, which actually makes it easier to sing. When you have an intention for what you’re doing, everything falls in place vocally.”

Almost the entire Beast cast and team after the final performance. From left to right, back row—James O'Leary, Daniel Michalak, Joseph Hodge, Evan Lindberg, Charlotte Maskelony, Rachel J. Peters, Julia Alexander, Katherine Krebs, Abby Orr. Front row—Julia Harbutt, Mac Atkinson, Chris Mirto. (credit Lexi Reed '20)

     New vocal works are an essential part of the Oberlin experience—whether working directly with the composers Du Yun ‘01, Missy Mazzoli, and Rachel J. Peters for Oberlin Opera Theater productions or performing alongside Roomful of Teeth with the Oberlin College Choir. Singers study the skills necessary for the field: in my interviews with Evan, Mac, and Julia, all three named their Oberlin music theory and aural skills training as the key resource they used to learn the opera. Julia confirms, “New opera requires you to know your theory. This music is so exposed that you simply have to sing as a smart musician, and that’s important to learn early on.” The voice department supports the students as well. Each singer credited voice coach and pianist Daniel Michalak, who guided us through initial preparation and played the entire opera, as instrumental to the workshop process.  

     What’s next for Beast?  Now that Peters and Vavrek have a recording of our performance and have experienced an audience reaction, Beast will undergo yet another transformation. Peters will orchestrate the opera, and the pair will make musical and dramatic changes based on our work this fall. Then in January, Peters and Vavrek will return to campus—this time for The Wild Beast of the Bungalow’s world premiere.

The Wild Beast of the Bungalow Workshop Cast:

The Girl - Caroline Wolfe

The Mermaid/Real Mom/Prairie Dog Mom - Charlotte Maskelony

Real Dad/Prairie Dog Dad/Charlie Chickenpox - Evan Lindberg

Grandma and Grandpa/Shirley Shingle - Julia Alexander 

Grover/Chubby Chickenpox - Mac Atkinson

Watermelon/Shelby Shingle - Abby Orr

Mrs. Gonzales/Sheena Shingle - Katherine Krebs

PDETA Man/Chaddy Chickenpox - Matteo Adams

Phyllis/Chester Chickenpox - Evan Tiapula

Creative Team:

Director - Christopher Mirto

Conductor - Joseph Hodge

Musical Coach - Daniel Michalak

Stage Manager - Julia Harbutt

Dramaturgy - Julia Bumke, James O'Leary

—reported by Charlotte Maskelony, Conservatory Communications student writer

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Connect Cleveland 2019

Now an annual feature of orientation week, first-year students visit Cleveland for a day of special programming and city exploration. Among the 800 students who participated this year were the newest class of conservatory students, who received a backstage tour of the Cleveland Orchestra’s Severance Hall and visited the Music Settlement, a center for music education and therapy.  

Guided by Conservatory Peer Advising Leaders (ConPALs), returning students who mentor small cohorts of conservatory first-years, the young musicians started their day at Severance Hall. They spent the morning touring the historic concert hall and administration facilities, learning about internship opportunities, and participating in a Q&A with Sarah Lamb, the orchestra’s manager of community engagement.

                         Stepping into Severance Hall for the first time.

     Learning about the history of the orchestra inside Severance Hall.

    Searching for a nail accidentally sanded into the lobby floor during the hall’s                                                             construction.

After visiting the orchestra, the cohorts walked to Cleveland’s nearby Music Settlement, founded by Almeda Adams in 1912 with the mission to welcome recent immigrants. With campuses in the Cleveland neighborhoods of University Circle and Ohio City, the Music Settlement provides early childhood education, music education, and music therapy services to the Cleveland area.  The new Obies were greeted by alumnus Matthew Charboneau ’02, chair of the center for music, and learned about music accessibility, student mentorship, and Winter Term opportunities.

Following a morning of music, the students headed to the Western Reserve Historical Society for lunch and spent the afternoon exploring the rest of University Circle—a cultural center which includes the Cleveland Botanical Gardens, the Museum of Contemporary Art, and the Cleveland Museum of Natural History.

   Cookie dough and ice cream outside of the Cleveland Botanical Gardens.

                                      New voice majors at Wade Oval.

                      Some ConPALs found time to bond and relax.

After a long day in the city, the students headed back home to Oberlin. The connection to our near neighbor of Cleveland, or ConPALs, doesn’t end here. Year-long ConPAL programming will continue with cohort dinners, workshops, and advising sessions. In addition to the annual orientation trip, Oberlin’s Connect Cleveland Initiative sponsors Neighborhood Crawls and special-events bus trips throughout the year. And, Cleveland’s arts organizations regularly provide free and low-cost student tickets to concerts throughout the concert season!

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Jazz Guitar Major Emmett Sher Takes Second Place in International Competition

This past month, jazz guitar major Emmet Sher ’20 participated in the third Jarek Śmietana Competition in Kraków, Poland. Of the 50 participants in the competition, 11 made it to the semifinals in Kraków. Sher place second overall.

“We all had to play a short set in front of a small audience and in front of six judges, including Mike Stern and Peter Bernstein who are two of the most renowned guitarists alive. We all had to play three songs in total: one required composition by Jarek Śmietana, a famous Polish jazz guitarist (after which the competition is named), and two pieces of our choice. A rhythm section was provided, so everyone performed in a trio. We all watched each other’s auditions which was stressful, but it was also really interesting to hear other musicians from all over the world with similar interests and influences,” says Sher.

(photo courtesy of the Śmietana Competition FaceBook page) 

Six guitarists were selected to move on to the finals the following day, where the participants had to play a different three-song set. 

“After the finals, we all had a jam session and hung out until they announced the awards at midnight. All the finalists got some type of award because the jury felt the level of talent was too high overall to not recognize all of the guitarists.” 

For the rest of his summer, Sher will be heading to California to teach at the Brubeck Institute summer jazz colony and doing a midwest tour with the Oberlin student-founded band Frisson. 

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Oberlin BPI: A Chat with Ian Plansker

During the past two weeks at Oberlin Conservatory, the annual Baroque Performance Institute brought in nearly 75 people, ranging in age from the 14-year-old former boy soprano to the 92-year-old Baroque violinist, intent on honing their skills with the institute’s 20 internationally acclaimed faculty. 

     Oberlin’s Baroque Performance Institute is a two-week-long workshop with a focus on the performance of period pieces with Baroque instruments and voice. BPI offers expert coaching and master classes, and concludes with a student-performed concert. Participants range in experience—from seasoned performers to those new to the world of Baroque performance. 

     We spoke with one of the younger participants, 15-year-old harpsichordist and composer Ian Plansker, who got the opportunity to perform in and hear a read-through of the opera he composed over this past year. He wrote The Spectres after attending the 2018 BPI. (portrait by Oli Bentley; performance photos Dale Preston)

What drew you to start composing in the Baroque style?

When I first started composing, it was because I saw composition as a different and perhaps more effective way to alter the course of music in history. Not only do I find it very mentally stimulating and entertaining in a sense, but I also see it as a very effective way to make my mark on music and hopefully bring a lot of joy to other people. In seventh grade, I wrote a piece for my school’s orchestra and the joy that I saw people experience was such an enthralling moment that I was really encouraged to keep composing. 

     In terms of writing in the Baroque style, I think it came more or less with my fascination with that era of music. I find there is so much color and diversity of sound in Baroque music, and I sought to capture that in my own composition, which is really why I started writing in that idiom. 

How has the BPI influenced you as a musician?

Before attending Oberlin’s BPI, I knew that I really enjoyed period performance but I had no idea that it was such a viable career in today’s world. After attending BPI and being encouraged by all of the fantastic faculty there, I learned that it’s definitely a viable career. The community in the historical performance world seems a lot more welcoming and open to me, less competitive, and I find that really inviting. They’re all so smart; you can have countless conversations. There’s so much to learn and so much to know in the historical performance world. I had no idea there were other people in the world that would sing Rameau opera chaconnes with me at 1 o’clock in the morning! 

So let’s talk about your opera, The Spectres. What influenced your writing?

I knew that I wanted to write some sort of large-scale vocal piece in the Baroque style at some point. I wasn’t entirely sure that a performance would be possible. But, I figured I may as well try writing something for BPI and see what could happen. 

     I took a lot of inspiration from the “ballad operas” of 18th-century England, which was a genre coined by John Gay and Johann Pepusch. They are operas that combine a lot of aspects of plays within them—so you’ll have musical numbers and then acting, and then musical numbers. The reason I chose that style specifically was because when Gay was writing ballad operas, he was writing them more for the people and less for the aristocrats. That’s how it previously was in the Drury Lane and Covent Garden theaters in England. I thought that would be a great way to, perhaps, start a new trend in writing historical operas because I think that would be a great thing to have in the historical performance world. I wrote it over the course of three months. 

How did the read-through of The Spectres feel?

It was amazing! I had no idea that the singers we would be working with were as expressive and as skilled as they were. And, all of the violinists and the gambists were terrific, as well. Everyone was very enthusiastic about doing it, which is really what I love to see when I’m doing these sorts of projects. When the orchestra members have a good time and enjoy playing the music, I know that message becomes apparent to the audience and that energy transfers between the two. 

What advice would you give to aspiring composers? 

Don’t give up! The first year and a half, everything I wrote was abominable. I look back and it’s filled with countless errors. I think the biggest thing that helped me improve was just to continue writing. I learned from my mistakes. Also, a very important thing is to learn the tools of composition. Even if you are going to write in modern styles, I think if you read the treatises and the texts from what was considered proper composition of the 17th, 18th and 19th centuries, you can start to go in a new direction that is unique to yourself while still maintaining an overall sense of coherency in your music. That can help you create more powerful work. 

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The Girls Electronic Arts Retreat: Fostering Creativity and Curiosity Through STEAM

        This past week at the conservatory, TIMARA technical directory Abby Aresty led a five day camp for third to fifth grade girls that centered around the celebration of women in the electronic arts. The Girls Electronic Arts Retreat (GEAR) gave young girls the opportunity to create and collaborate together on a number of activities that combined science, technology, art, and math.  Throughout the week, campers worked on projects such as creating their own contact microphones, making interactive sound paintings, recording foley sound with synthesizers, and building interactive sound maps and Twister boards. Each day ended with a performance for the parents where students got to show off what they did and let their parents interact with their projects.  Participants learned about notable composers of electroacoustic music and even improvised their own sonic meditations based on compositions by Pauline Oliveros, as well as electrical walks, an idea pioneered by Christina Kubisch. They went on sound walks, collected field recordings, and made their own graphic scores as well. 

“According to a recent study, the perception that certain fields require an innate brilliance is enough to deter many women from pursuing careers in these fields. Another study found that girls as young as six years of age tend to believe that brilliance is a male trait. By the time they reach college, women in technical fields are often already at a disadvantage since their male peers have been immersed in the culture for years; without the right support system and peer group, it is easy for them to think that a career in technology is simply not for them. At GEAR, girls build confidence in technology in a supportive environment through fun, hands-on activities,” says Aresty.  GEAR is housed in the newly renovated Technology in Music and Related Arts (TIMARA) studios at Oberlin Conservatory and co-sponsored by TIMARA, Oberlin Center for the Arts (OCA), and the Community Music School (CMS). The pilot session of GEAR has been made possible by generous funding from the Oberlin Conservatory Dean's office, the Oberlin College and Conservatory's grants office, the TIMARA Department at Oberlin Conservatory, the Bill Long Foundation, and OCA.

To learn more, visit https://www.girlselectronicartsretreat.org

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In the Practice Room with the 2019 Rubin Scholars

For each of the past 14 years, Oberlin Conservatory has welcomed the legendary American mezzo-soprano Marilyn Horne for a weeklong residency. And after each of the past six, Horne has awarded $10,000 to outstanding students that she coached during her campus visit. Both the scholarship and the Horne residency are made possible by the singer’s close friend and philanthropist Stephen Rubin, president and publisher of Henry Holt & Co. This spring, Horne named soprano Whitney Campbell ’19 and tenor Shawn Roth ’20 the new awardees, each receiving $5,000 in funding for auditions, travel, and the living expenses that accompany the life of a young artist. While singing for THE Marilyn Horne was a bit nerve-racking for both Whitney and Shawn, they both admit that having fun has backed all their hard work at Oberlin.

When were you first inspired by the human singing voice?

Whitney: As a child, I would go around the house singing at all hours of the day. The first time I was inspired by the operatic voice, was when I heard Renée Fleming live in recital when I was 13 years old. Her ability to touch the soul with her voice alone inspired me to pursue this career!

Shawn: Among a few moments that stick out in particular would be the first time I heard a recording of Pavarotti singing “La donna è mobile.” There was just something so other-worldly about it—it sounded too perfect to be of this earth. I thought, “Whoa, opera’s the coolest thing there is,” because nothing remotely came close to listening to it.

What are some of your greatest musical influences?

Whitney: Since first hearing Renée Fleming in that recital, I have always gone back to her as a source of inspiration. I consider her my biggest role model. Her innate musicality and ability to express with her voice is something I aspire to achieve. I have read her book, The Inner Voice, at least three times. Angela Meade, Marilyn Horne, Montserrat Caballé, Eileen Farrell, Mirella Freni, and so many more, also influence my work. In addition to those singing role models, it was my longtime choir director Barbara Walker who introduced me to music and really inspired me to pursue this career. She heard me singing at the pool when I was five years old and recruited me on the spot to join the Livingston Parish Children’s Choir in Denham Springs, LA, where I sang from kindergarten through seventh grade. She is still a major musical influence and mentor to me today. Without her, I probably would not have gotten into music at all.

Shawn: Every day I find another reason to sing, whether it’s because I’ve discovered a new aria or new singer, perhaps I found out something new when I practiced that day, or maybe someone said something I’d like to prove wrong! As far as musical influences go, I’ve had a few constants—one would be Pavarotti. I always go back to him, even if I haven’t listened to him in months. Another would be classical radio programming. I grew up in Johnstown, Pennsylvania, with Pittsburgh’s classical radio station WQED. One night, when I was a kid, I was messing with my radio before bed and came across this absolutely, shockingly mesmerizing sound. It was a beautiful symphony—I unfortunately don’t remember what the piece was, but I remember the host saying it was by an African-American composer. Probably William Grant Still’s Symphony No. 1, now that I think of it. But from then on I would listen to the classical station anytime I could, and I credit that with giving me my love for classical music in particular. When I come home I turn the dial as soon as I’m in range!

Shawn performs opposite soprano Alexis Reed ’20 in Missy Mazzoli’s Proving Up in the January 2019 Winter Term Opera. What have been some of your greatest experiences in Oberlin? Any most valuable takeaways?

Whitney: Having the opportunity to work with Marilyn Horne is definitely at the top of my list! It was an absolutely incredible experience that I am beyond grateful for. During my four years at Oberlin, I was fortunate enough to be cast in all four of the operas conducted by Christopher Larkin. After being in the chorus for the first two, I got to work more closely with him on solo roles in Britten’s The Turn of the Screw and Poulenc’s Dialogues des Carmélites. It was such a privilege to work with maestro Larkin during my time here. He was so inspiring with his encouraging words and musical ideas, while simultaneously teaching us how to work with a full orchestra. It’s incredible that Oberlin provided us—as such young singers—with fully staged, costumed, and orchestrally supported opportunities to grow as artists on stage.

Shawn: Getting accepted to Oberlin in the first place was such a thrill, since I really only began studying voice seriously during my senior year of high school. I’ve been incredibly fortunate for what Oberlin’s given to me. I’ve had the chance to work with an amazing teacher, Salvatore Champagne, throughout my time here. As an underclassman I got to listen to incredibly talented colleagues like Olivia Boen ’17 and Cory McGee ’18 before they took off. I’ve been in master classes with world-renowned artists such as Marilyn Horne, George Shirley, Gerald Martin Moore, and Brian Zeger. I’ve worked on operas with two of the best living composers, Du Yun and Missy Mazzoli. And I’ve been invited to sing with the Cleveland Orchestra as a soloist, twice, because they reached out to Oberlin specifically for singers. How can I possibly pick a favorite out of any of those?! And I still have one more year left, which is hands-down the craziest part. Can’t wait to see what happens next year!

Whitney Campbell in Oberlin Opera Theater’s spring 2019 production of Poulenc’s Dialogues des Carmélites. Singing on the Marilyn Horne master classes is one of the most exciting honors for Oberlin singers. What was that first experience of working with the great American mezzo like for you? Whitney: As I was sitting in the audience, waiting for my turn to sing the “Czardas” from Die Fledermaus for Marilyn Horne, I was the most nervous I’ve ever felt for a performance. However, after getting through the first sing-through, she was so kind—I just knew she was rooting for all of us to succeed! She had such great, really helpful advice for me about pacing the piece. It ended up being one of my favorite performances at Oberlin. To top it all off, I got to have an hour-long lesson with her the next day! I never would’ve thought I would have the chance to casually sing through my repertoire for Ms. Horne. It was a life-changing experience, and I still can’t believe it happened. One of the coolest things she said to me was that I reminded her of herself at a young age, which was the best compliment I could ever wish to receive. I’m still reeling from it! I really hope I can continue to work with her in the years to come! Shawn: Oh god, I’ve never been more nervous than when I was waiting backstage to go on stage for Ms. Horne. As the most established living American mezzo, she’s one of the most intimidating people to sing for on the planet...at first. Once I got out there and she started asking me about my pieces, she made me feel right at home. (I think both of us being from western Pennsylvania probably helped, too!) She’ll ask you to do things no one else will, and as a result, can improve your performance in ways no one else can. Working with her in a private lesson was just as exciting—at the time, I was singing baritone, and had Billy Budd’s aria in my package. To help me out, she told me how the first baritone to sing that role sang it, who just happened to be a friend of hers. That’s the beauty of Ms. Horne’s experience—she’ll tell you things that came right from the mouths of Britten or Stravinsky themselves.

Shawn in Oberlin Opera Theater’s fall 2018 production of Bernstein’s Trouble in Tahiti with castmate and mezzo-soprano Gabriela Linares ’21. What did your path to music and Oberlin look like? 

Whitney: Following my years of experience singing in the Livingston Parish Children’s Choir, I decided to audition for the New Orleans Center for Creative Arts, right in my hometown. After being admitted at the high school level, I skipped 8th grade and went straight into high school. I studied classical voice with Phyllis Treigle, expanded my art song repertory, participated in a number of opera scenes, and performed in two full operas. It was in those pivotal years that I discovered that opera was all I wanted to do. Throughout high school, I did summer opera intensives at Louisiana State University and the Brevard Music Center. It was during my junior year that my mom convinced me to go to Oberlin’s Vocal Academy for High School Students, and I fell in love with this school! I could just feel that Oberlin would help me grow into a more well-rounded artist. And, the conservatory immediately became my number-one pick for undergrad. Now, as I approach graduation, I realize how lucky I was to receive such a thorough music education from such a respected institution. I am so grateful to everyone that made my experience here such an exciting one! Shawn: So, although music was a constant in my life since day one, I had a lot of insecurity and anxiety about what to study in college. Where I’m from, the only real “path” for musically-inclined kids was to go to one of three or four state schools, get a degree in music education, and try your luck at applying for teaching jobs in the area. Three of my high school music teachers sat me down with my parents one day to try to scare me out of a performance-based career, because it was just such an “outlandish” idea. Of course, I chose Oberlin anyway. I think it’s worked out pretty well so far. So my advice for anyone who needs to hear it is this: Do what you want to be doing with your time. It’s not anyone else’s, and it’s the only thing you can’t get back once it’s gone. Now for a more uplifting story! The exact moment that I knew I wanted to sing for a living came while I was singing with a regional choir in my junior year of high school, led by an incredibly talented conductor, Chris Jackson. We were preparing Mozart’s Regina Coeli, which features a solo quartet out in front of the choir. Wanting that solo so badly and hoping to stand out, I called upon my official sponsor for this interview, Luciano Pavarotti, and just tried to sound like him as much as possible. It worked, and I got the solo! Singing out there in front of everyone activated the strongest emotional response to music I’ve ever had, and I knew then that I wanted to do this for the rest of my life. I still get that feeling when I perform, and it’s one of the strongest highs you can feel. I actually ended up running into Chris last summer, when we were both singing at the Yale School of Music’s Norfolk Festival. During a break in rehearsal, I re-introduced myself and thanked him for letting me discover my passion—then we went right back to singing, this time as colleagues. All the more proof that the classical music world is the smallest there is!

“Do what you want to be doing with your time. It’s not anyone else’s, and it’s the only thing you can’t get back once it’s gone.”

Whitney, Shawn, and fellow voice majors with guest master clinician and acclaimed vocal coach Gerald Martin Moore.    Do you have any advice for our incoming freshman singers?

Shawn: Have fun, and listen to each other. A large portion of your education comes from classes and lessons, but perhaps the most valuable things you’ll learn will come from your friends and colleagues. Be easy to work with—it will pay dividends in the long run. Even that still boils down to just being receptive to the people around you. Your entire time as an undergrad is an audition for all your peers, because they’ll be the ones who will get you jobs later on. And people who are easy to work with will be easy to employ. So show up with your music memorized, do the things the conductors ask you to do, and have fun with it, because that’s why we all do it at the end of the day. Also, learn German. The Germans already know English.

Whitney: Absolutely don’t forget to learn from your peers! Be supportive of each other—don’t tear each other down! Be a good colleague. Be respectful. Be prepared. Always be on time. It will only help you in the long run to have a reputation of being respectful and dependable. And, lastly, remember why you came to Oberlin. You came here to do what you love: sing opera. You are here to do it for you, and it doesn’t matter what anyone else thinks or says. Have fun with it!

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In the practice room with Phoebe Durand McDonnell ’19

This Oberlin Conservatory harpist is accustomed to travel. When Phoebe’s harp goals outgrew her small hometown of Bar Harbor, Maine, she began making a six-hour commute to Boston for weekly lessons. Now at the end of her undergraduate studies, with a new-found passion for historic harp that she discovered in Oberlin, Phoebe is ready to take her studies even farther from home as a Fulbright Fellow in Geneva, Switzerland, in the fall.

How do you plan to spend your Fulbright year overseas?  I will be participating in a Masters degree program at the Haute école de musique de Genève studying historic harp performance. My focus is Baroque harp, which was used generally from the 1500s-1700s. It’s a crazy instrument! The modern harp that I play now has pedals to change keys, but the Baroque harp has three parallel rows of strings—the outer two rows are tuned diatonically and the inner row is tuned to the half-steps and slightly offset, so for sharps and flats you reach into the inner row.  I’ll be learning how to play the instrument and studying Baroque music.

What motivated you to apply for a Fulbright in the first place? What inspired this particular project?    During my second year at Oberlin I found a replica of a Baroque harp in a locked practice room on the third floor of Robertson Hall. Nobody actually knows where it came from or why it’s at Oberlin, but I was completely fascinated and started playing around with it.  During my junior year, I took an Intro to Historic Performance class with Professor David Breitman, and he and my harp teacher Yolanda Kondonassis worked together to bring historic harpist Dr. Maria Cleary to Oberlin when she was playing in Cleveland. I had a couple of lessons with her and discovered it was possible to play historic harp professionally—I was completely hooked! I started looking into a Fulbright because historic harp isn’t taught in the U.S. I had the chance to study with Maria again at a festival in the Czech Republic last summer and quickly realized I love her teaching style and musicality. Soon after, I wrote my Fulbright application to study in with her in Geneva.

It seems the sky is the limit when it comes to collaborative performance opportunities here in Oberlin! What have been some of your most memorable collaborative experiences on campus? I’ve worked one-on-one with composers, played a contemporary harp duet, and hauled my harp across campus to play at a contra dance.  (The sky is the limit, for sure, but maybe a more realistic limit when there is no elevator available is the third floor of J House for a “waltz night”!) In the past month alone, I have played in the film score project of a composer friend, performed with the orchestra in a section of four harps, and presented a piece with a friend on my senior recital that we’ve been planning to play together since we were 16.  Every collaboration is equally unforgettable and close-to-my-heart!

Let's talk about your work with Oberlin’s Indonesian Gong Ensemble! Before the Salvation Army Learning Zone project, had you had many teaching/community outreach experiences like that? Bang on a Gong is fabulous! I’ve always loved working with kids and feel very strongly that access to music is incredibly important. I drove six hours one way for lessons throughout high school, and was able to do that since I was homeschooled and my parents were incredibly supportive.  But I’m from rural Maine, and I know first hand that not everybody can make that work. Since I first started performing, I’ve given a “this is how the harp works!” spiel before my concerts and always let people of every age try the harp if they want to.  I became involved in “Gamelan and Community Engagement” at its inception two years ago, and have worked with Professor Jennifer Fraser through every change, experiment, and success! Go to their concerts. Get involved. It’s a fantastic program.  

“We should all do what we love and do it well.”

As a fourth year, ready to graduate, what are some of the ways that Oberlin has helped you to grow?

I think every student here says this, but Oberlin is such a unique place. In a conservatory environment it’s easy to feel pressured to do your best, always, no matter what the physical/mental consequences. But, at Oberlin, we’re forced to get out of the practice rooms and interact with our peers who are not doing music. I’m an odd conservatory student in that I came to Oberlin because I also loved the school as a whole, not just the conservatory. I think my time with the college students (I’m co-chair of the contra dance, I’ve taken more college classes than my degree requires, and I love ExCos) has inspired me in my music.  When I see friends doing what they love and excelling in fields I never could, it makes me realize that every career path is important. We should all do what we love and do it well.

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In the studio with viola professor Kirsten Docter ’92

Chamber music announces the end of every semester—Thursday and Sunday night small jazz ensembles at the Cat and the Cream and the two-day ChamberFest!—showcase a semester’s worth of hard work done by dozens of conservatory students.  

ChamberFest! presents programs on Friday, April 26, at 4:30 pm and 7:30 pm and Sunday, April 27, at 1:30 pm and 4:30 pm in Stull Recital Hall. We had the chance to chat with Oberlin’s viola professor, and one of the ChamberFest! coordinators—Kirsten Docter ’92.

What made you fall in love with chamber music and make it a focus of your life’s work?

I started playing chamber music first with my sister (cellist with the Met Opera Orchestra) and my brother (then a violinist) when I was in grade school. Throughout high school and college I usually had two chamber groups going and liked the challenge of one-on-a-part, but in collaboration with friends/colleagues. I have always been attracted to the very personal and intimate nature of the music, and the way it represents relationships in all aspects. Greg Fulkerson and Marilyn McDonald were very influential coaches while I was a student at Oberlin, and I had the chance to work with Felix Galimir while studying at Curtis. When I joined the Cavani String Quartet they were in their 10th year as an ensemble. I learned so much from them, and from other individuals and ensembles we collaborated with, in particular Donald Weilerstein and Peter Salaff (both of the Cleveland Quartet).

You’ve played a lot of it—do you have a favorite piece of chamber music? 

I will cheat and say I usually fall in love with whatever piece I'm working on at the moment. My overall favorites are Beethoven and Bartok String Quartets.

What are some of the most important skills you learned from your work in chamber music that made you a more-rounded classical musician and teacher? Why is chamber music such a crucial part of an Oberlin/undergrad education?  

We are so lucky at Oberlin to have both world-class private teachers and a thriving and lively orchestral program. I see chamber music studies as a synthesis of these two aspects of study. One must perform their chamber part as if it is a solo, and then—somewhat differently than a solo—one must be flexible and open to making changes to accommodate the other parts. One has to be willing to give it their all, but then be able to commit to trying other ideas as if they are one’s own even if they severely disagree with the ideas. 

This semester, the YB Center for Dialogue has hosted "Empathy Cafes" in which students get advice on how to deal with relational conflict and receive information about communication. I love that this is happening on our campus. I think it could be a great way to help our chamber ensembles have positive, constructive rehearsals (not that all of our groups get into heated arguments every week, but it's great to have this as a resource)!

What are some goals you have for Oberlin's chamber music program? What do you hope students will take away from the program?

Chamber ensembles are the perfect musical entity to take on the road—not too large; don't need special equipment except a piano; represent more than one instrument and often families of instruments; and are great for educational settings and can be a source of comfort. Along with ongoing master class and performance opportunities, I am hoping to start working with a few ensembles to do more with community engagement in the area and beyond. (More to come soon!) _____________ Interested in reading more about chamber music at Oberlin? See how Oberlin Conservatory musicians trade paper scores for iPad Pros. 

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SENIOR SYMPOSIUM 2019

A CELEBRATION OF THE SCHOLARLY AND ARTISTIC ACHIEVEMENTS OF THE CLASS OF 2019

SATURDAY, APRIL 27 | KING BUILDING

View the complete symposium itinerary! For a listing of double degree and Musical Studies presentations, see the list below. 

SESSION I · 9:30-10:50AM

Panel 3 · MUSIC | PRODUCTION · King 127

Neil McCalmont, Musical Studies, Musicology, and Latin Wagnerian Interpretation of Beethoven's First Symphony

Eliot Sernau, Musical Studies Negative Valence through Text Painting in Schoenberg's Early Atonal Works

Dante Giramma, Musical Studies The Sounds of Objects In Spaces: Sound Sculpture as a Compositional Medium

Maddy Baltor, Musical Studies and Comparative American Studies The Recording Studio as an Instrument

SESSION III · 1:00-2:20PM

Panel 7 · ARTISTIC | RESISTANCE · King 127

Moderator: Gina Pérez, Professor of Comparative American Studies

Mobey Irizarry-Lambright, Comparative American Studies and TIMARA Catastrophe Cypher: Hip Hop as Resistance after Hurricane Maria

Lauren Brown, Musical Studies and Anthropology Examining the Current Realities of Indie Music Distribution in Cape Town, South Africa

SESSION V · 3:00-4:20PM

Panel 15 · NATIONAL | IDENTITY · King 127

Moderator: Ann Sherif, Professor of Japanese

Catherine Lytle, Musical Studies and East Asian Studies Memories of Silence: Music and Privilege in Communist Czechoslovakia

Julia Weldon, East Asian Studies and Cello Performance Japanese Buddhist Temples and Their Adaptations to Contemporary Society

SESSION VI · 4:00-5:20PM

Panel 17 · COMPUTER | SIMULATION · King 239

Moderator: Jason Stalnaker, Associate Professor of Physics

Felipe Velay Ferreira, Musical Studies and Computer Science Interactive and Immersive Sound Design in Video Games: 8-bit to Adaptive Virtual Reality

SESSION VII · 5:00-6:20PM

Panel 23 · MUSIC | EDUCATION · King 127

Moderator: Jody Kerchner, Professor of Music Education and Director of the Division of Pedagogy, Advocacy, and Community Engagement

Daniel Gonzales, Musical Studies Progression of State & Federal Education Policy, Funding, and Legislation in Public Schools Since 1983

Daniel Huerta, Musical Studies and History  FEATURED PRESENTATION Culturally Responsive Pedagogy: Approaching Music Education with a Cultural Lens

Ryn McWhirter, Musical Studies and Pre-Medicine General Music Classrooms: Where Neurodiversity Meets Neurotypicality

Peri Leavitt, Musical Studies and English Incorporating Movement into High School Choral Classrooms: A Practical Approach

SESSION VIII · 7:00-8:00PM

Panel 26 · AUDITORY | EXPERIENCES · King 123 Moderator: Leslie Kwakye, Assistant Professor of Neuroscience

Zoe Swann, Neuroscience and Linguistics  FEATURED PRESENTATION Drum Playing Modulates the Post Auricular Muscle Response: Intention or Attention?

Isabel Forden, Musical Studies The Multi-Track to the Mind: An Analysis of Studio Production Techniques

••• Panel 27 · THEATRICAL | ANALYSES · King 127

Alex Ngo, Musical Studies Rhyme Scheme in Musical Theater and Its Relation to Phrase Structure

Anthony Zicari, Musical Studies Come to the Cabaret, You Swine: French Cabaret Theater as Innovative Social Commentary

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At the Opera House with Soprano Elissa Pfaender ’16

Elissa was on her way home from work in Princeton, NJ, on January 3, 2019, when she got the call from Sarasota Opera. By January 5, her flight had landed in Florida and the Oberlin Conservatory-trained opera singer was about to embark on a three-month journey as an apprentice artist in a brand new town.

We enjoyed following your adventures with Sarasota Opera on Instagram this winter! It certainly looked like you were having an amazing time. What made this experience memorable for you?  Singing with Sarasota Opera was a dream come true! Ever since I heard about their young artist program, I knew that it was something I wanted to be a part of. I was called in last minute in January as a replacement, for a fellow apprentice artist who fell ill, for their Winter Festival (60th anniversary) season. It was an offer I couldn't refuse, as I knew that it was an incredible opportunity to work with such a prestigious company. I packed up my things in Princeton, New Jersey to arrive in sunny Sarasota, Florida nearly 24 hours later!  I was really embraced by the staff and my colleagues as I dove straight into music rehearsals on the first day. I had phenomenal opportunities while I was there, and I ended up winning an "Outstanding Apprentice Artist" award from the Sarasota Opera Guild for my work. It was quite a whirlwind experience, which I am so thankful for. I wouldn't have changed a single thing!                                                 What was your role as an apprentice artist with the company during those three months? Did you have any particularly striking learning experiences along the way? While I was there, I sang in the chorus of three operas (Turandot, Die Zauberflöte and Nabucco), covered a role (First Lady in Die Zauberflöte), and performed a variety of scenes and arias in concerts. We were constantly busy with rehearsals, but I had the best time! I think my favorite learning experiences were working on the apprentice artist concerts. They were opportunities to work on some dream roles, and I was challenged vocally, dramatically, and musically. The wealth of knowledge from the staff is endless; it was inspirational to work with and learn from them all. It was also so fun to collaborate with my fellow apprentice artists on the concerts. After spending a few months together, we really felt like family and it was so much fun to watch each other's growth. 

Juggling multiple shows and new concert repertoire must have made those months fly by. Now that you’ve had some time to reflect, are there any moments from the program that stay close to the front of your mind?

We presented our first apprentice artist concert just two weeks after we had all arrived, and I was given two big scenes from the operas Anna Bolena and La Forza del Destino. It was a big night, and I was feeling a bit of pressure as a last-minute addition to the apprenticeship program with only a short time to prepare the music...I wanted to do a good job! However, I couldn't have asked for better colleagues to sing with that night, and I felt really prepared musically and dramatically due to the staff. It was absolutely magical to step out on that stage and hear my voice in the house for the first time. I knew in that moment that I was meant to be there, and that the next three months of performing in that theater would be thrilling. And they definitely were!

Did you have opportunities to meet and work with any of the professional guest singers that came through Sarasota? The principal singers at Sarasota Opera were phenomenal. Forget the "diva/divo” cliche—these were some of the nicest and warmest colleagues one could ask for, despite their incredible resumes of singing at the Metropolitan Opera, Carnegie Hall, Bayerische Staatsoper, and more! Although they were principals, they took the time to get to know us apprentice and studio artists, which created a real feel of collaboration and community amongst everyone in the cast. Each person is important in an opera, whether a main role or small chorus part! This is something I hope to always live by as I move further throughout my career—to treat each member of the company (including stage management, props folks, costumers, etc.) with respect, integrity, and value!

Let’s backtrack to 2015! You had some time off between undergrad and graduate school. What did your semester off look like? How did you stay motivated and continue honing your craft outside of school? Due to my circumstances as a transfer student, I graduated in December! Before heading to grad school in September 2016, I actually went to work at a Starbucks in Wisconsin (where I'm from) during that time, and made a few trips back to Oberlin to study and prepare for grad school auditions with my voice teacher, Salvatore Champagne. While it was enjoyable to get away from the hustle and bustle of Oberlin life for a little while, I think my time off taught me how much I wanted to go back to school and continue singing! The few months away were a good time to focus on what I wanted to accomplish in grad school and the next phase of my life "post-Oberlin." I’ll never forget when Mr. Champagne said in studio class once, "Singing should be your bread and butter—you can't live a day without it. If you can, then this career isn't for you." He was right! I couldn't wait to get back to studying everyday and working on my craft! A lot of Obies have gone on to study at Westminster Choir college for graduate school. I attended Westminster’s CoOPERAtive program (which I highly recommend) while I was an Oberlin student, and I knew it would be a great fit for me to continue my studies.

Elissa as Arminda in Mozart’s La finta giardiniera at Oberlin.                                                         You walked across Oberlin’s commencement stage almost three years ago, in May 2016. What is one piece of advice you wish you could tell undergrad you?  What do you miss most about Oberlin? I am so thankful for my time at Oberlin! Places like Oberlin and Sarasota are similar in the way that both required the most out of me as a student and an artist. They challenged me, pushed me musically and dramatically, and gave me phenomenal opportunities. I worked really hard during my time at Oberlin and I was able to be a part of amazing operas, concerts, recitals, and more. I think one of the best things I learned from Oberlin was how to prepare/be prepared! While I was at Oberlin, I had the chance to sing two operatic leading roles. Taking on Arminda in La Finta Giardinera and Female Chorus in The Rape of Lucretia seemed daunting as a junior and senior in college, but thanks to working with my amazing teacher, opera coaches, director, and conductor, I always felt prepared. Also, having the opportunity to sing with an orchestra as an undergrad was phenomenal! The great base training I received at Oberlin prepared me really well for professional opportunities, such as working with Sarasota Opera. I still bring that kind of preparation into my work today! For example, at Sarasota I had to learn, memorize, coach, stage, and perform a lead role (First Lady in Die Zauberflote) all within 2-3 weeks! Although music and aural theory were probably my weakest classes at Oberlin, I thank myself for sticking with it and really applying myself in those classes to hone the musical skills I have today. I think I'd remind my undergrad self to keep working hard in those classes, even on the days I didn't want to be there, as the skills would pay off some day! 

I do miss the sense of community that I felt in Oberlin. I met some of my best friends there, and there is no better feeling than doing what you love alongside people that you love. One of my best friends, Evan Hines, who was in my voice studio and my accompanist on a few projects, happens to now be a staff member at Oberlin! We love to reflect on our old times there and even like to look back at recordings that we made to together to see how far we've come since then.

What’s next for Elissa? She’s currently back in Princeton, NJ, singing in a few things locally. This summer, she will be a vocal fellow with the Manchester Music Festival in Stratton Mountain, Vermont, coaching with Warren Jones (exciting!) She’s always in and out of New York City for auditions, so we will have to wait to see what's next. 

“I think with this career, success comes from when preparation meets opportunity. With my skillset I gained from Oberlin, I am prepared for any opportunity that comes my way!”

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In the practice room with percussionist and Fulbright fellow Carson Fratus

In March 2019, the J. William Fulbright Foreign Scholarship Board awarded Carson Fratus BM ’17 AD ’19 with a scholarship to India! When he wraps up his artist diploma at Oberlin this semester, the musician from Knoxville, Tennessee, will embark on a year of exploring the traditional music of South India.

How did music come into your life? What was your path to studying percussion at Oberlin? I started with piano and voice from a very young age and grew up playing and singing in church. I didn’t start playing percussion until middle school and didn’t start to formally study percussion until my junior year of high school. The transition between the two was very slow, but I eventually realized that drums were my calling.

What have been some of your best experiences in Oberlin? The performance opportunities I’ve had through the conservatory ensembles are invaluable, but a lot of my favorite musical experiences have come from collaborations outside of my coursework, too. My studies with percussionist Jamey Haddad and trombonist/composer Jay Ashby through Oberlin’s Performance and Improvisation program have impacted me greatly. As I began to study traditional music from around the world—as well as traditional American music—more and more performance opportunities began to appear as I branched out into new styles and avenues of playing.

In January 2019, Fratus traveled to New York City with the Oberlin Orchestra for a performance at Carnegie Hall. 

How do you plan to spend your time in India? What will your project look like? I will be studying South Indian classical music, called Carnatic music. I will be working with revered gurus, learning to play an ancient and beautiful drum called mridangam. I will also be teaching kids in public schools how to read western notation, as well as giving lessons on drum set and frame drum. 

You’ve posted some videos of yourself performing Carnatic music, specifically solkattu, where you chant rhythms on syllables while tapping out the meter with your hands! How did you discover this art form? I first began to study konnakol with Jamey Haddad through his internalizing rhythms class, which can be taken by any student at Oberlin! I recommend it for all types of musicians. Jamey Haddad received a Fulbright to India many years ago for the same study, so I am essentially following in his footsteps!

You participated in Jamey Haddad’s winter term trip to India a few years ago. What were some of the musical highlights of that experience? Yes, that trip to India in 2017 was life changing for me. We spent two weeks with master musicians who did their best to give us a taste of a tradition that is as deep as it is ancient. This lit the fire for me and I jumped into everything that was presented to us, really trying to make the most out of the experience. I’d say one of the best parts of the trip was performing for an audience of almost a thousand kids on a big stage. We were playing arrangements of jazz standards as well as just grooving and playing to the crowd. The audience was so responsive and energetic, I had never felt that kind of vibe on a stage before. Unreal.

 Follow Carson on Instagram to hear more music and watch his Fulbright journey!

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An Interview with Spencer Myer ’00

Clavier Companion chose the rising-star pianist and Oberlin alum for its featured artist in January/February 2019! 

Subscribe to Clavier Companion today to gain access to a wealth of resources and great magazine content! 

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Alumni Spotlight: Nicholas Music ’18, tenor

Nicholas Music ’18 has always loved winter term in Oberlin. It all began when he dove head-first into the role of Tenor II in Jeremy Beck’s Review during his first winter term on campus. That same month, he landed a starring role in a campus production of Jake Heggie’s one-act opera Again, which tells the off-screen story of Lucille Ball and Desi Arnaz from the iconic I Love Lucy show.

“Taking on the role of Ricky was a huge challenge for me but an extremely valuable part of my education,” Nicholas says. He spent three of the next four January terms on campus participating in Oberlin’s annual winter term production or preparing a role for the spring opera. Just last year, that project was Angel’s Bone, the Pulitzer Prize-winning opera by Du Yun ’01.

Although he has graduated from Oberlin and is working on his master’s at the University of Michigan, Nicholas still will be on campus this month—this time to prepare for his role as guest soloist with the Oberlin College Choir in Stravinsky’s Les Noces. The ensemble will perform the piece on January 19 at New York’s Carnegie Hall, with a preview performance slated for Oberlin on January 16.

“I consider it an immense privilege to take part in this series of performances culminating in my Carnegie debut!” Nicholas says. “It is an opportunity that I have only dreamed of until now, and it’s even more of a joy that I get to join my friends and peers from Oberlin.”

Singers and instrumentalists of all levels consider Les Noces a tricky piece of repertoire. “This is my first time singing in Russian,” Nicholas says, “and with the pace of the piece, there is no time to second-guess diction.”

The young singer’s experiences in Oberlin—especially with Du Yun, who visited campus to work with cast members in January 2018—have fueled his ongoing passion for opera. Angel’s Bone had been performed only once before, so with nothing more than an audio recording of the original cast for a compass, Nicholas found portraying the role of Boy Angel a highly creative endeavor.

“Du Yun took time to coach everyone individually and even met with us as a cast to talk about her journey and vision,” he says. “My coaching with Du Yun was not at all what I expected. As classical singers, we aim to sing every pitch and rhythm as accurately as possible…I was surprised to hear from her that the notation in many places was meant to be more of a guide than a mandate.

“Du Yun encouraged me to explore more freedom with the notation and to just feel how the emotional journey of the character motivates the music. I think her work with the cast was something none of us will forget.”

Head to oberlin.edu/oberlin-in-nyc for tickets and complete details about the Oberlin College Choir’s January 19 appearance at Carnegie Hall! ______

ABOUT OBERLIN IN NYC

The Oberlin Conservatory of Music is a world leader in the training of professional musicians. On January 16 and 19, 2019, three Oberlin ensembles will present notable programs in New York City’s iconic venues. Leading the way on Wednesday, January 16, is the inaugural performance of the Oberlin Sonny Rollins Jazz Ensemble at Dizzy’s Club Coca-Cola with award-winning guest pianist Sullivan Fortner, a 2008 Oberlin Conservatory alumnus.The Oberlin College Choir and Oberlin Orchestra share the stage on Saturday, January 19, at Carnegie Hall’s Stern Auditorium in a showcase program that includes Stravinsky’s dramatic and rarely performed Les Noces.